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No Quarters Intro and Outro Music


So that title is something I did.  You can hear it on their latest episode 39, Sexual Nintendo.  I believe it is completely unique when compared to any other music I have on the web.

I don’t have a ton of custom musics I’ve done for other people but I have done a few, and gotten paid occasionally.  Its always funny though because there is a definite language barrier each and every time that I haven’t quite figured out how to overcome.  I mean we get to a good place in the end.  But every custom project I have ever done I get a loose set of guidelines and often an example piece of music.  I also tend to research it a bit, for instance in podcasts listening to what they used in the past.  Its funny too because everyone uses dark music so I always start out with dark music, thinking hey why not?  Everyone loves that Carousel intro I did, that’s dark.  No one ever wants dark though.

Super Budget Brothers was easy.  I asked them some questions, found out they were a fan of a song from a certain Nintendo game and went off to make kind of an electro punk song version of it.

TVGP may have been my music but it was totally their brain child.  It was their idea to combine those two tracks and to my dismay both tracks were at the same BPM and key (an absolute devastating discovery for most musicians, 120 BPM at that) so it was really easy to mix.

Carousel I literally as just playing around with a new VST.  Truth be told, there is actually a 3 minute or so song with a terrible lead synth over what is now the intro for The Carousel but I’d sooner write a new song for the riff than release that.  Its funny how often I remove whatever I started the song with.

The one episode of Tiltcast they used my music for (I think Trent’s computer literally was set on fire or something and they couldn’t find the AllThisIsMeaningLess tracks) Justin and Scott just picked out of a bunch of riffs I let them select from.  Listening back I really wish I had EQ’ed them before I sent them.

The Picking up the Pixels songs have two separate origins.  The intro song was a rare bird for me in that there’s a logic to its progression.  RPG’s span all of gaming time right?  So the idea was to start out with chiptune and gradually move into more modern sounds.  The middle song I actually wrote for another podcast who the gatekeeper for didn’t want it.  I am super, super proud of that track and luckily Boston loved it.

No Quarters was truth be told based on both BMFCast and No Quarters.  They have a tendency to use light 70’s funk for a lot of their stuff and they seem to love bad 80’s synth.  So I started with the idea of kind of a  funk, punk, 80’s synth bit but I finished and didn’t like it.  Evidently explosions fix everything.

Now I write all this but I’m not writing about all the songs that were rejected.  If you’re an aspiring musician that’s something you have to keep in mind.  You’re going to be repeatedly rejected by friend and stranger alike.  You just have to keep trying.  The hardest part is writing something for a friend because a lot of the time they’ll try and spare your feelings because they’re your friend.  Top that off with that even musicians don’t know how to communicate with musicians and it can be really hard to figure out what a person will like.  You just have to keep trying.  My usual goal is to submit several differing tracks and hopefully coerce some helpful comments out of those rejections.  Of course the real hard part is not letting the part of me out thats says, dude I wrote you the perfect piece why don’t you see that?  But live and learn.  Most musicians need that check anyway.  Its not always about you.

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